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Yemenat
15-07-2025
- Entertainment
- Yemenat
The Impact of the Digital Space on Yemeni Poetry
Abdulaziz Al-Zaraei would often sneak into his uncle's room, an Arabic language teacher, to browse through books and read works by Al-Bardoni and other treasures of Arabic literature and heritage. This ignited his curiosity and passion for knowledge. In his small village, 'Bani Al-Zaraei,' perched atop the towering Kusher mountains in the Hajour region of Hajjah, where clouds graze the peaks overlooking the lush plains of Tihama, he would wake up early each morning with a book in hand, immersing himself in the words and experiences of literary characters. Each book opened a window to new worlds, fueling his dream of becoming a recognized poet. As his talent grew, he began writing poetry while still in high school, expressing himself in his unique style. He ventured to Sana'a, where he earned first place at the university and received the Yemeni President's Prize in Poetry in 2009. His journey did not stop there; he soared higher, being crowned the 'Prince of Poets' in the fourth edition of Abu Dhabi Authority for Culture and Heritage competition in 2011, becoming the first Yemeni poet to receive this prestigious honor. Dr. Al-Zaraei has published five poetry collections: An Introduction to the Ignition of Clay, Splittings of Yemeni Agate, Wounding Passersby, Bitter Roses, and Hunters Assuring Their Prey. He has also authored two critical studies: Time in the Poetic Image: A Linguistic Study of Al-Bardoni's Poetry and The Poetic Discourse on Facebook. He is not only a creative writer and poet but also a researcher who opens new horizons through his book The Poetic Discourse on Facebook, which presents a digital linguistic approach to selected examples of Yemeni poets. He dedicates this work to creators in Yemen's remote villages, who seek internet signals atop mountains to share their creations. In his opening remarks, Dr. Al-Zaraei expresses gratitude to Professor Dr. Emad Abdullatif, a professor of rhetoric and discourse analysis at Qatar University, and to Professor Dr. Abdulrahman Al-Muhsini, a professor of rhetoric and criticism at King Khalid University in Saudi Arabia, for their generosity in reviewing the draft of this study and providing valuable feedback. He also thanks his wife, Ms. Hana Al-Rubou'i, a member of the linguistic proofreading department at the Supreme Court, for her efforts in the final proofreading of the manuscript. The book includes a comprehensive index of its content, followed by a presentation from Dr. Emad Abdullatif, who emphasizes the significance of this work within the context of Arabic literary studies. He notes that the book combines various methods from linguistics, semiotics, and discourse analysis, reflecting the depth of the author's critical vision. It also addresses new poetic phenomena, such as the use of images and video clips, and explores how readers interact with the texts. The book serves as a bridge between traditional and contemporary approaches, making it an important reference for future studies. It reveals poetry's ability to express creativity even in times of crisis, highlighting the aesthetics of art in the face of challenges and emphasizing poetry's role as a means of communication and expression of cultural identity in an era where digital media intertwines with daily life. Following this, Professor Dr. Abdulrahman bin Hassan Al-Muhsini offers an in-depth reading of the book, pointing out the significance of the digital space as a new platform for artistic expression and the role of technology in reshaping the relationship between poets and their readers. He highlights how poets have utilized Facebook as a means of direct communication, allowing for immediate interaction with their audience and transcending traditional boundaries, thereby making their texts more widespread and accessible. Al-Muhsini also reviews the critical issues raised by Al-Zaraei, such as the impact of the digital space on the form and content of poetic texts. Facebook has become not just a publishing platform but a space that influences writing style and topic selection, reflecting contemporary social and cultural changes. He emphasizes the importance of studying digital literature to understand the fundamental transformations in how poetry is approached and engaged with. He concludes by affirming that The Poetic Discourse on Facebook represents a significant contribution to expanding the horizons of literary criticism, encouraging reflection on the preservation of poetic texts amid digital changes, and advocating for the use of new tools to enhance creativity in the current era. In the introduction to the book, Dr. Al-Zaraei notes that social media, particularly Facebook, is one of the most prominent features of the information technology revolution in our digital age. It has diminished the role of traditional books while opening new avenues for artistic creativity. Facebook has become an interactive space that allows for the formation of new poetic discourses, transcending traditional forms to reflect contemporary cultural and social transformations. The research explores the grammatical and semantic changes in Arabic poetry, questioning whether a poet's page can be considered a cohesive poetic discourse and examining the role of comments in reshaping texts. It focuses on the accounts of young Yemeni poets, taking into account the social and political contexts in Yemen. The significance of this research lies in its examination of digital literature as a growing phenomenon, necessitating a critique that aligns with this transformation. In the current circumstances, Facebook has become the primary platform for literary publication, requiring creative and digital skills from poets. Therefore, enhancing collaboration between critics and programmers is essential to develop the necessary skills for navigating these platforms. This study is among the first to highlight the phenomenon of Facebook poetry in Yemen, emphasizing the importance of examining digital tools and their impact on literary content and how messages reach their audiences within this complex context. The book consists of 254 pages and was published by the Arab Foundation for Studies and Publishing in Lebanon in 2022. It encompasses six main chapters that reflect the depth of research into Facebook's poetic discourse. In the first chapter, the researcher presents a comprehensive theoretical approach, supported by a historical background that sheds light on the contexts contributing to the formation of this discourse, providing a conceptual framework for understanding the phenomenon. In the second chapter, the researcher dedicates efforts to studying the syntactic level, addressing the linguistic and grammatical structure of poetic texts on Facebook. He examines how sentences are organized and the use of linguistic constructions that express the identities and experiences of the poets. The third chapter delves into the semantic level of the discourse, exploring the meanings and concepts embedded in poetic texts and how they interact with the surrounding cultural and social contexts. The researcher discusses how these texts reflect community interests and interactions. In the fourth chapter, the researcher moves to the pragmatic level, analyzing audience interaction with poetic discourse on Facebook. He discusses how comments and shares influence the creation of meaning, highlighting the importance of this interaction in shaping the understanding of texts. The fifth chapter addresses the rhetorical and artistic level, pointing out the rhetorical devices and artistic techniques used in the texts and how they enhance the beauty of the discourse. The researcher explores the relationship between form and content, showing how rhetoric draws the audience's attention. Finally, in the sixth chapter, the researcher discusses the digital level, clarifying the impact of the digital space on the production and distribution of poetry. He explores how digital technologies contribute to changing writing styles and communication methods between poets and their audiences, opening new avenues for poetic creativity in the age of globalization. The book presents a radical shift in digital literature, offering added value that contributes to a new understanding of poetic discourse in the digital age. It focuses on various issues such as the digital compound and digital metaphor, reflecting the deep interconnection between linguistic performance and the digital space. These issues are not merely research topics but embody the essence of digital work and its anticipated outcomes, qualifying them to be new research avenues in the field of digital literary studies. Al-Zaraei employs a comprehensive methodology to examine the impact of Facebook as a medium for sharing poetry in Yemen, highlighting the significance of this medium in the context of declining traditional means of poetry dissemination. This book reflects the author's ability to integrate diverse analytical procedures derived from linguistics, semiotics, and poetics, enabling him to explore what could be termed 'Facebooking poetry'—the process of adapting poetry to fit Facebook's characteristics, thus opening new avenues for understanding poetic phenomena in this space. The poetic phenomena examined within the context of Facebook include themes, language, rhythm, and the distribution of verses, as well as linguistic structures and their references to reality. The book also provides in-depth analyses of the poem's impact on its readers and their responses, reflecting a deep familiarity with the subject. Al-Zaraei's ability to integrate traditional and contemporary approaches in studying Arabic poetry reflects his accumulated expertise and profound understanding of the circumstances surrounding poetry composition and its motivations. He does not limit himself to an overview of the texts and their authors but goes beyond that to study the non-discursive factors influencing the text. Thanks to its cohesive methodology, the book can serve as an important starting point for researchers in this field, offering a valuable lesson on how to incorporate audience rhetoric into the traditional analysis of Arabic poetry. In the face of a challenging Arab reality, this book becomes a platform for exploring beauty and creativity from the depths of suffering, marking it as a significant contribution to contemporary literary studies. Al-Zaraei's key ideas manifest in these texts through a series of axes that reflect the depth of his vision. He emphasizes the importance of interaction between poets and their audiences on social media platforms, noting how this interaction shapes meanings and rewrites texts. He also points to the transformations in poetic structure, where changes in syntax and grammar reflect the digital age's impact on writing styles. He views Facebook poetic texts as a mirror reflecting cultural and social contexts, making poetry an effective tool for expressing current issues and collective feelings. He also discusses the role of rhetorical and artistic techniques in enriching the texts, illustrating how these elements enhance the aesthetic quality of poetic discourse. Additionally, he examines the impact of digital technologies on poetry production and distribution, clarifying how communication methods between poets and their audiences have changed in the age of digital globalization. He presents a new vision of poetry as an interactive and evolving art form that adapts to modern contexts and utilizes the digital space as a new platform for expression and creativity. These ideas converge to form a comprehensive perspective on the role of poetry in the digital age and the influence of social media on its forms and content. Al-Zaraei's emotional and sensitive approach to the issues that concern poets and the audience on social media is evident. He expresses a deep sense of the transformations poetry undergoes in the digital age, where individual emotions intertwine with collective experiences, reflecting a tension between tradition and modernity. He also conveys a sense of nostalgia for the traditional aspects of poetry, where it was viewed as a means of pure artistic expression. However, he realistically embraces the changes brought about by social media, demonstrating an ability to adapt to the new realities of the time. This duality between nostalgia and acceptance reflects complex psychological emotions, ranging from passion and creativity on one hand to anxiety about losing authenticity on the other. The influence of environment and time is evident in Dr. Abdulaziz Al-Zaraei's writings on 'The Poetic Discourse on Facebook,' through his deep engagement with the social and cultural contexts surrounding poets. Al-Zaraei draws from his personal experience and critical perspective to present a comprehensive study that reflects the reality of Facebook poetry, highlighting how young poets interact with contemporary changes. The environment in which Al-Zaraei lives, including the political and social conditions in Yemen, forms an important backdrop for his studies, reflecting the influence of these contexts on poetic texts. Through the digital space, poetry transforms into an expressive tool reflecting people's concerns and experiences. Additionally, time, as a significant factor, is evident in his analysis of the nature of Facebook poetry, where it interacts with current events and responds to them. The external environment, including technological developments, contributes to reshaping poetic styles and methods of interaction between poets and their audiences. Through his study, Al-Zaraei underscores the importance of communication and interaction, creating new texts characterized by renewal and modernity. Moreover, Al-Zaraei employs technical terms related to the digital space, such as 'social platforms' and 'digital communication,' illustrating how technology contributes to shaping literary texts. Through this diverse lexicon, he manages to provide a rich study that clearly and deeply expresses the reality of Facebook poetry, contributing to understanding poetic transformations in the modern era. He also clearly connects reality and metaphor in his writing, reflecting the depth of his analysis of poetic discourse on Facebook. Al-Zaraei discusses how Facebook poetry combines direct expressions of reality (truth) with the use of poetic imagery and figurative language, enhancing the beauty of the texts. Furthermore, the book features a smooth and precise language that facilitates readers' understanding of the presented ideas. Al-Zaraei avoids excessive complexity, making his study accessible to researchers and poetry enthusiasts alike.
CairoScene
04-06-2025
- Lifestyle
- CairoScene
How Arwa Al Neami Paved the Way for Saudi Women in Contemporary Art
What role can art play in a country undergoing rapid transformation? For Saudi artist Arwa Al Neami, it has long been a way to spark dialogue about social change. Through installations, films, and photography, the Abha-hailing 40-year old artist often uses humour and at times irony to explore the restrictions placed on women and the complex dynamics of life in a changing Saudi Arabia. Al Neami's career began long before Saudi Arabia's art scene gained the visibility and acceptance it enjoys today. When she entered the field in the early 2000s, art was not widely embraced in the country, and spaces for contemporary artistic expression were extremely limited. Despite these barriers, Al Neami's work pushed against social boundaries, laying the groundwork for the more open discourse now emerging within the Saudi art community. Born in a military compound at King Khalid Military Airbase, Al Neami grew up in a unique environment that shaped her worldview. 'It was a military city, quite different from the outside world. My schoolmates and neighbours were from various nationalities. I was a social girl with many Egyptian and Sudanese friends,' Al Neami tells SceneNowSaudi. Her childhood, although spent in the disciplined setting of a military compound, was filled with art and creativity from a young age. "Art has been part of my life since I was four. I started drawing at that age. My artistic spirit had nothing to do with tools or mediums—it was always there.' However, her adolescent years brought about a stark cultural shift when her family relocated to Abha. 'It was a complete culture shock,' Al Neami recalls. The freedoms she once enjoyed were suddenly restricted. She started wearing an abaya and gloves, and her school offered no art classes. "Everything was haram," she says. Even her Minnie Mouse backpack had its head removed after being deemed inappropriate. But these changes didn't stifle her creativity. Instead, they fueled a deeper sense of questioning and rebellion within her—a spirit that would later be channelled into her artistic work. After graduating high school, Arwa Al Neami faced a challenge—there were no formal art programs available for her to pursue. Undeterred, she took matters into her own hands. She would visit stationery stores, gather canvases and paper, and lay them out on the floor over a white sheet, creating without a structured starting point or formal techniques. 'I would just take out my pencils and colours and start creating,' Al Neami tells SceneNowSaudi. With no art major to choose from, she instead studied IT at King Khalid University, where she discovered Photoshop. This tool - new at the time - opened doors for her creativity. Hearing about an art competition at Al Muftaha Village, she instinctively created a large multimedia piece, letting the work flow naturally. 'I didn't know the medium or how I started or finished; it just happened,' she says. Her piece won a distinguished prize, one that wasn't awarded every year, and that was the moment she truly identified as an artist. 'I felt like a billionaire,' Al Neami recalls, after winning SAR 5,000. The first thing she did was purchase her own computer and Photoshop software, quickly mastering the program to the point where even her professors asked for her techniques. Al Muftaha Village was predominantly a male-dominated space, and she could only visit her artwork on family days, which limited her connection with the community. However, her artistic journey continued in Jeddah, where she began working more with canvas. Her first contemporary project, titled 'Ya Taybah', involved collecting dolls from Makkah. 'There was a belief that dolls were haram – you couldn't play with them at night or sleep next to them,' Al Neami explains. But one doll, which played the spiritual song 'Ya Taybah', sparked something within her. She recalls witnessing a father, initially reluctant to buy the doll for his daughter, change his mind when he heard the song. "That moment changed his perspective on the doll and, by extension, on art." The project was a video, featuring three of these dolls, all playing 'Ya Taybah' at varying speeds. This contrast between the dolls and the spiritual songs enticed Al Neami; a contradicting duality, and in essence, commentary on a culture that is neither here nor there. Al Neami's exploration of contradictions and complex societal norms comes through strongly in 'Red Lipstick', a nine-minute video installation that examines her relationship with the niqab. Initially, she viewed the niqab as something that sharpened her ability to recognise people by their eyes. Wearing it heightened her observational skills and sense of connection, as everyone dressed similarly in abayas. However, after she stopped wearing the niqab, she noticed an unexpected change: men seemed more intrigued by her when she was veiled, drawing attention to how societal rules create allure around what is deemed "forbidden." In 'Red Lipstick', Al Neami used a Christian Lebanese friend as the model, someone who had never worn the niqab before. The video shows the niqab flying around, alternating between revealing either the model's eyes or her lips, which are adorned with striking red lipstick. This visual contrast encapsulates the tension between modesty and attention, between what is hidden and what is seen. The project, exhibited underground in Jeddah, explores not only the niqab's layered meanings but also how societal perceptions are shaped by what remains covered. "It was an experience for her as well," Al Neami tells SceneNowSaudi, reflecting on how the project challenged both herself and her model to think about cultural symbols and their shifting significance. 'Red Lipstick' became one of her most pivotal works, capturing the contradictions she would continue to explore in future projects. The niqab remains a pivotal element in Al Neami's artistic journey, and her series 'Never Never Land' offers a striking example of how she draws from personal experiences to explore the complexities of societal norms. Showcased at the City Gallery Wellington in New Zealand in 2018, 'Never Never Land' depicts fully veiled Saudi women playing bumper cars at a carnival. While the scene appears playful, the signs surrounding them call for modesty and restraint, even in moments of leisure. Through this subtle satire, Al Neami comments on the tension between personal freedom and societal rules, especially in a country where direct criticism of authority is often suppressed. 'Never Never Land' also reflects the changing dynamics within Al Neami's home region of Asir, where, historically, women had greater freedom and were seen as equals to men. She tells SceneNowSaudi how the region's traditions have evolved: 'Women in Asir didn't cover themselves in the past, but over time, that changed.' Her visits to local amusement parks in 2010 revealed a stark contrast between the present and the past. At first, boys and girls rode the same rides together, but gradually, segregation became the norm, and extra sheets and coverings were put up to shield women from view while they played. By 2017, the restrictions had grown even more severe, with black curtains placed around the bumper cars, making it impossible for anyone outside to see the women having fun. Al Neami's work captures this societal shift, where women are sometimes treated as if their very presence could cause disruption or chaos, even in spaces meant for joy and play. Through 'Never Never Land', she questions these evolving norms with quiet but powerful critique. Her installations and films don't just observe these changes—they participate in them. In 'Art is Not a Race', exhibited at Doha's Fire Station in Qatar in 2022 and 2023, a child model collapses on a long walking mat with the phrase 'Art is not a race' inscribed in Arabic. The installation critiques the pressures and competitive nature of the contemporary art scene, questioning whether the pursuit of recognition is undermining artistic integrity. It's a reminder that both life and art require patience and thought, and perhaps…waiting things out even when 'better days' seem impossible. One of Al Neami's most defining projects took place in 2014 within the Kingdom itself. 'A Piece of Paradise' saw her become the first woman ever granted permission to photograph the Prophet's Mosque in Madinah, capturing the intricate centuries-old calligraphy and the grandeur of the mosque's 177 domes. But this series is more than an architectural study; it reflects her contemplation on faith, beauty, and the desire to preserve cultural heritage across generations. For Al Neami, the project embodied both the physical and the spiritual aspects of her work, preserving not only the mosque's magnificent design but also the deep reverence it inspires in those who visit. Al Neami recalls the moment that inspired the project. 'When I entered the Haram for the first time, I looked up and saw the domes, each one so beautiful and unique. I asked, 'What is this? Who made them?' but there was no information.' Determined to document the mosque's overlooked architectural details, she took her phone and began photographing the domes, eventually presenting her idea to Prince Faisal. Her proposal was bold—to photograph each of the 177 domes of the Prophet's Mosque, a feat no one had attempted before. Despite challenges in securing permits and initial skepticism, Al Neami persisted. Officers expressed surprise at the sight of a camera inside the mosque, as such access had been unheard of. But her determination paid off, and the result was not just a remarkable visual archive but a historic milestone. 'A Piece of Paradise' disrupted traditional norms around access, opening doors not only for Al Neami but for other women in Saudi Arabia, making it a pivotal moment in both her career and the cultural landscape of the Kingdom. Al Neami's early success came despite the conservative social climate at the time, where being a Saudi woman pursuing contemporary art was met with skepticism, if not outright resistance. Her art isn't about offering easy answers—it's about sparking thought and reflection. As Saudi Arabia continues to undergo significant change, her work pushes viewers to question, laugh, and engage with the world around them. Through her social commentary, she has become an essential voice in Saudi contemporary art, well before the country began to embrace the arts as it does today. As Saudi Arabia continues to undergo significant cultural shifts, Al Neami is optimistic about the future of art in the Kingdom. "I'm so happy with where art is now in Saudi Arabia. It's a new chapter, and there is so much support. Art is the future," she says. Her upcoming projects will explore the Kingdom's relationship with the land, sea, and sky, focusing on the spiritual and human evolution happening within the country. "We are witnessing remarkable progress, and my current work is more philosophical and meditative," she explains. Her work continues to reflect the questions she's been asking since her youth—questions that are finally being answered as Saudi Arabia's artistic community grows and evolves.
Arab News
28-05-2025
- Politics
- Arab News
Study outlines forest fire prevention plan
RIYADH: The National Center for Vegetation Cover Development and Combating Desertification has completed a study to enhance forest protection and reduce wildfire risks in support of environmental sustainability goals. Titled 'Forest Fire Prevention and Post-Fire Recovery in the Southern and Southwestern Regions of Saudi Arabia,' the study was conducted in collaboration with King Khalid University and Monash University in Australia. It includes an assessment of forest conditions and risk factors, the development of a digital database, and a review of preventive measures and community practices, the Saudi Press Agency reported on Wednesday. The study proposes an integrated response plan involving relevant agencies, with defined roles and the use of modern tools such as early warning systems and drones. It also offers field designs and sustainable alternatives for strategic firebreaks, a post-fire recovery guide, a performance evaluation tool, and a framework for joint operations. To support this, the study outlines a mechanism for engaging local volunteer teams in forest areas through training, capacity-building, and coordination with authorities. The study demonstrates institutional, technical, and community collaboration in forest protection. It reflects Saudi Arabia's efforts to preserve natural resources and address climate-related challenges while balancing development with ecosystem conservation. The national center continues to promote sustainable vegetation cover and has launched an initiative to plant 60 million trees — equivalent to restoring 300,000 hectares — by 2030.
Leaders
28-05-2025
- Business
- Leaders
ARDARA Launches First-Ever Lifestyle Community at AlWadi Destination
Prince Turki bin Talal bin Abdulaziz, Governor of Aseer Region and Chairman of ARDARA, officially announced the launch of ARDARA's first modern lifestyle community at AlWadi. The announcement took place during the second Aseer Investment Forum, held at King Khalid University in Abha, and included new details about this landmark destination. ARDARA, fully owned by the Public Investment Fund (PIF), is leading the development. This milestone project highlights ARDARA's mission to create integrated residential and tourism destinations that elevate the Aseer Region's profile within the national development framework. It reflects the company's strong commitment to sustainable urban planning and enhancing quality of life. The initial phase of the project includes a diverse range of offerings: A five-star hotel with approximately 180 rooms A four-star hotel featuring around 245 rooms 40 luxury branded apartments and 42 luxury branded villas 62 premium apartments 4,500 square meters of high-end retail space Public amenities such as walking and cycling paths, and environmentally friendly mobility solutions In pursuit of world-class hospitality standards, ARDARA has signed a letter of intent with Hilton to operate a Waldorf Astoria hotel within the development. Further expanding its vision, ARDARA signed a memorandum of understanding (MoU) with Sumou Holding to develop future phases of AlWadi. These will include mixed-use urban communities that integrate residential, hospitality, and entertainment elements—aligned with the National Tourism Strategy and grounded in principles of sustainability and smart urban development. The potential value of this partnership stands at SAR 1 billion. ARDARA, SEDCO ARDARA also entered a strategic MoU with SEDCO Capital to manage an investment fund worth SAR 1 billion for the development of an urban project in Abha. Additionally, the initiative aims to blend residential, hospitality, and entertainment components to drive economic and tourism growth in the Aseer Region. Furthermore, ARDARA signed an MoU with Southern Province Cement Company to promote sustainable urban development practices. The agreement covers the supply of eco-friendly 'green cement,' joint greening and community initiatives, and technical knowledge sharing—contributing to both environmental sustainability and construction excellence across the region. 'The launch of our first lifestyle community in AlWadi represents a unique investment opportunity in Aseer,' said Naif bin Saleh Al-Hamdan, Managing Director of ARDARA. 'It offers exclusive waterfront properties and a vibrant community that honors Saudi heritage while embracing modern living. Finally, the strategic partnerships we announced today underscore our commitment to innovation, sustainability, and investment value—fully aligned with the Public Investment Fund's initiatives and Saudi Vision 2030.' Related Topics: IARDA Licenses 40 Tour Guides Culture Ministry Launches Saudi-Chinese Cultural Year 2025 Riyadh Art Completes Installation of Davide Rivalta Sculptures 'The Neighbors of the Moon': an Ideal Tourist Destination in Jizan Short link : Post Views: 21
Leaders
28-05-2025
- Business
- Leaders
Aseer Investment Forum Showcases Promising Tourism, Development Prospects
The third workshop of the second edition of the Aseer Investment Forum, hosted at King Khalid University in Al Faraa, featured a dynamic session titled 'Aseer: One Journey, Unforgettable Experiences.' The event brought together key figures and experts from the tourism, investment, and development sectors to spotlight the region's emerging opportunities. Aseer Investment Forum Participants identified the Aseer Region as a leading destination on the national tourism map, praised for its rich cultural heritage and diverse natural environment. They noted the region's strong appeal to investors, citing its supportive infrastructure and skilled workforce. Eng. Hashem Al-Dabbagh, Acting CEO of the Aseer Region Development Authority, highlighted the ambitious goals of the 'Aseer Season,' which aims to attract 9 million tourists by 2030. He reaffirmed the region's potential to become a top-tier destination for both local and international visitors. Related Topics : Saudia, Aseer Development Authority Cooperate on Boosting Tourism 'Aseer Manuscripts Exhibition' Showcases Region's History, Culture Mohammed bin Salman Project Revitalizes Al-Oudah Mosque in Diriyah Under Historic Initiative Saudi Development Fund Announces $90m for Infrastructure Dev't in Caribbean States Short link : Post Views: 1 Related Stories
